Funding advocacy project 2019-20

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Activities / Funding advocacy

In 2019-20 the Union wrote to research funding bodies around the world regarding priorities for funding fashion and sustainability research. These 31 organisations were sourced from the Union membership. The letter was signed by the full membership of the Union at the time. Initially letters were sent in June 2019, with follow up letters sent in January 2020. This initiative arose from a perceived overemphasis on research funding directed at technical solutions to fashion and sustainability, under the umbrella of circular economy. The letter called for funding priorities to be redirected towards new knowledge creation that is relevant to and commensurate with the multiple global crises we face. The letter asked for greater pluralism in funding priorities, including those which favour the long term, systems change, collaborative practice and moving beyond the growth logic.

Of the organisations, two responded, and the Union board had a productive conversation with one organisation. Four organisations responded with a form letter usually sent to funding applicants. Given the lack of response from most organisations and given that the issues raised in the letter remain, the board of UCRF is planning a follow-up to this initiative in the near future.

UCRF – Member of the Month – Anupama Pasricha

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Member of the Month

UCRF is running a ‘Member of the Month’ feature on this blog, where a member, selected at random from the membership database, is sent five questions to give us all an overview of our members. Our ninth participant is Anupama Pasricha.

> How would you sum up your research / practice?

My research, teaching, advocacy, and design focus on systems and holistic thinking. It spans from sustaining self, community, and planet. This article gives a glimpse of my design work. In another research, I used 3D printing as a tool to create zero-waste designs. This research followed design as a research paradigm to apply zero-waste principles to 3D printing to ensure sustainable applications of 3D technology in the apparel and fashion industry. I also serve as an advisor to a few small companies to help them become more sustainable. Serving as the Executive Director, Educators For Socially Responsible Apparel Practices (ESRAP) has been a rewarding experience as ESRAP has a positive impact. It continues to inspire me. 

> How do you address fashion and sustainability in your work?

I address fashion and sustainability as an area of opportunity to change the world. I believe that fashion leads the way to bring cultural shifts and change in society. I incorporate SDGs in the discussion and focus on critical areas: justice & equity (social), and climate change, resource insecurity & circularity (environment), consumption ( I published a resource for slow consumption-See attached), and advocate for profit for sustainable brands & businesses.

As the department chair, I led the department’s curriculum transformation. Sustainability is woven throughout the curriculum and operations in the fashion department at St. Catherine University. I teach a capstone course, Sustainable Product Development, in which students are guided to apply their learning to product development. I also teach fashion and sustainability through an environmental justice lens for the university’s core curriculum. My students read, research, design, and write about different topics in sustainability. Recently my department also launched an Interdisciplinary Minor in Sustainability Studies at . We hope that it will create a meaningful opportunity for more students to learn and resolve problems in the world.  

> What are the conflicts you have encountered around fashion and sustainability in your work? 

  1. We teach sustainability, and students graduate feeling empowered. But when they start working in the industry, sustainability often takes a back seat as young professionals are trying to meet the bottom line or a timeline to perform in their job role. 
  2.  Fashion is all about change, whereas sustainability is more related to a constant. It is always hard to maintain a balance where change is grounded within sustainable choices. 
  3. As a fashion professor, I feel constant anxiety and pressure to look like one, which sometimes pushes me to consume more than what I need. 
  4.  The conflict between need and want is a constant battle. 
  5. Our way of being and lifestyles are highly unsustainable; therefore, it is impossible to be 100% sustainable in any choice. 
  6. There is a clear intent to be better and sustainable, but there may not be a straightforward path that may lead to desired action & impact. 

> What do you consider the key sources and cases when it comes to fashion and sustainability?

Bloomsbury ESRAP Fashion Business case studies, Ellen McArthur Foundation Case Studies, Conscious Chatter Podcast, Mindful Businesses Podcast;

> Could you recommend some less known sources or cases you think should be more widely shared?

Slow Factory

Fashion and SDGs



Ellen MacArthur Foundation: The Circular Economy Show
Vidhya Iyer: Mindful Businesses
Kestrel Jenkins: Conscious Chatter


  • The minimalist, 2021
  • The true Cost, 2015
  • China Blue, 2005
  • The Climate Change Denial Industry 2011
  • Environmental, Social and Economic Issues with Textiles 2009
  • A plastic ocean, 2016
  • 13th, 2016
  • A killer bargain, 2006
  • Ethics [electronic resource] : what is right?
  • Fenceline: A company town divided
  • Fighting for the right to a healthy environment: Ada Lockridge and Ron Plain
  • Aldo Leopold-His life and thought 1983
  • American revolutionary : the evolution of Grace Lee Bogg, 2013
  • Black diamonds
  • Blue gold, 2009
  • Breaking the Wall of Misleading National Indicators [electronic resource] : How Economics
    Can Measure Real Progress, 2011
  • Brownfields, community involvement, and smart growth 2004
  • The Biofuel Myth : Harsh Realities in the Developing World 2, 2009
  • Crossing the stones: a portrait of Arne Naess 1992
  • David vs. Monsanto [electronic resource] : Insights into Genetic Manipulation 2009
  • The Earth, The City, and the Hidden Narrative of Race 2006
  • Elemental 2013
  • Flow: for love of water c2008
  • Food Superhighway 2009
  • Homeland  : four portraits of Native action
  • Native American Communities and Climate Change   2012
  • Human cost behind bargain shopping 2005

Thank you very much for your insights Anupama!

Update from the UCRF Reading Group

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Blogroll / Reading Group

The UCRF reading group opened its digital doors on 30th April 2021. With the participation of 17 attendees, the first gathering explored how to create an activist knowledge ecology in order to foster critical thinking and build collective consciousness. Reflecting on the UCRF’s manifesto and code of conduct, we discussed how to diversify the voices and ensure social and environmental justice in and across fashion value chains so we could move beyond resource depletion toward a paradigm change.

The group will continue facilitating an inclusive conversation by approaching fashion from multiple facets and disciplines that can then inform, influence and inspire a diverse range actors to undertake actions. The group will adopt a tidal schedule to accommodate participation from all time zones. 

Thank you to those who were part of the first meeting of this exciting and informing group – and let us know if you would like to join or if you wish to receive further information.

UCRF – Member of the Month – Olga Johnston

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Member of the Month

UCRF is running a ‘Member of the Month’ feature on this blog, where a member, selected at random from the membership database, is sent five questions to give us all an overview of our members. Our eighth participant is Olga Johnston.

>How would you sum up your research / practice?

I am an educator, journalist and a stylist, focusing on activating sustainable & circular fashion discourse and action in Russia since 2017, which, I guess, makes me a ‘pioneer’ of sustainable fashion in Russia. I’m based in Berlin but work across both western and eastern Europe.

I focus on Russia for a few reasons. Firstly, Russia is a large fashion market. Positively impacting the full spectrum of how fashion is defined, produced and consumed in Russia, as the world’s sixth largest economy @ PPP, will generate multiple positive outcomes for the planet. Secondly, and more generally, encouraging and inspiring Russian producers and consumers to think, strategise and act/invest in terms of sustainability and net positivity is absolutely key to achieving planetary sustainability. Russia is the world’s largest country and holds stewardship of the world’s most significant freshwater and forest resources together with uniquely vast endowments of flora and fauna. Thirdly, I am Russian and am deeply aware of and inspired by the potential of my country not just to neutralise but to reverse environmental destruction at planetary scale, yet Russia’s positive contribution to date is a miniscule fraction of what should be possible. For example,  as recently as 2017, google searches for “Sustainable Fashion” in the Russian language yielded zero results. I started my educational project “Redshift in Fashion” in order to change that.  I have had some success – googling “sustainable fashion” in Russian now, in 2021, returns over 4,000,000 of results (still behind over 565,000,000 results in English). I believe the Redshift project has been partly responsible for generating an explosion of interest and activity in Russia in this area, as well as growing interest from the West. 

In 2017 I delivered, jointly with the Moscow-based designer Nikita Kalmykov (brand “Atelier Odor”) our very first lecture on sustainable fashion and design in Russia. To date I have lectured in a number of universities across Russia: Moscow State University of Technology and Design Moscow, British School of Art and Design, Moscow High School of Economics, ITMO St Petersburg National Research University of IT, Mechanics and Optics, Southern Federal University, Rostov, Omsk University of Design and Technology, and Vladivostok State University of Economics and Service.

This year together with the leading Russian private fashion school “Fashion Factory” I have launched the first Russian language course about building a sustainable fashion brand. This involved designing the curriculum, finding  Russian designers as tutors, creating and teaching the main body of the course content. 

>How do you address fashion and sustainability in your work?  

As an educator I find it very effective to emphasise that fashion is not a product but a process that has the beginning (material stage) and the end (which we try to avoid and make it a closed loop of ‘endlessly’ circulating non-toxic resources). All along this process – the life cycle of a garment – we encounter ecological and social problems which we should substitute with ecological and ethical solutions. And I show how to do that at every stage of the lifecycle and every point in the supply chain. Another point I stress is the need for system thinking. I use principles of deep ecology to show the interconnectedness and ‘oneness’ of things. Part of the challenge of making fashion sustainable in Russia lies in making sustainability ‘fashionable’. 

>What are the conflicts you have encountered around fashion and sustainability in your work? 

My original focus on Russia was itself rooted in a conflict. In 2017 I asked myself questions to which there were no answers, such as: Is Russia purposefully excluded or self-excluding from the global discourse on sustainable fashion or has Russia simply been ‘forgotten’ and dismissed by mistake? Why were Western consumer brands in Russia failing to implement the very sustainability practices that defined their global positioning and ECG stance? What are the reasons for either? What are the solutions? How can we overcome this gap that if left unresolved with could be detrimental for the world and its efforts in achieving SDG by 2030? How can Russia contribute to the global sustainable and circular fashion industry? Can it provide investment, carry out research into alternative fabrics and present its technological solutions to the world?

Today, there is a new set of conflicts, for example within Russia’s newly formed sustainable fashion community. Some of them believe in a Slavophilic special Russian way or path and resist ‘western’ knowledge. Some ‘learnt’ to use ecological ideas for greenwashing. The idea of circular economy still does not figure highly on the Russian economic agenda. 

Another Russia-specific issue is the absence of accessibility – Russian language academic education in the area of sustainable fashion and a total absence of textbooks on the topic. Only a fraction of students and teachers speak English at a level sufficient to be able to access the existing volume of knowledge. 

The translation of the existing material is lagging behind. The book “Cradle to Cradle” by M.Braungart and W.McDonough was translated into Russian and published only as recently as August 2020, 12 years after it first appeared in English. 

>What do you consider the key sources and cases when it comes to fashion and sustainability?

I am using academic publications by members of UCRF as well as the ‘usual’ online resources, such as Ellen MacArthur Foundation, Mistra Future Fashion, CFDA, Ted Ten, BOF, etc. 

>Could you recommend some less known sources or cases you think should be more widely shared? 

I like materials created by Redress Design Awards, I participated in translating some of them into Russian, and today it is the best Russian language resource on sustainable design available for free. 

If you are interested in sustainable Russian brands, I recommend to check out Sane Fashion (available in Russian only). It is a new platform and also an app rating sustainable Russian fashion brands and connecting them with consumers. I worked on creating its rating that is constantly being revised and updated. This platform also provides information on second hand stores and textile take back points across Russia. 

I always recommend SFA course to anyone new to the topic. 

Looking forward, the Russian sustainable fashion movement requires support in order to grow in scale and scope. The most important driver here would be in “training the trainers” – equipping Russian fashion educators and decision makers with the inspiration, initiative and instruments to educate and train the upcoming generation of Russian fashion entrepreneurs and creative talent. 

For this reason I have started putting together a very rough and raw concept of an online Redshift In Fashion Forum in order to bring together the world’s leading researchers, thinkers and doers in sustainable fashion with Russian sustainable fashion activists, educators and policymakers. We would look at a few days of  online activity covering best practices, case studies, innovative ideas, fashion value chain concept reinventions and other solutions in a global virtual forum with full online translation and simultaneous interpreting support. The idea would be a dynamic exchange of concepts, ideas and creative energies between Russia and the world. You are the world’s leading community of knowledge and research in sustainable fashion. Could I interest you in working with me to develop and launch this concept?

Additionally, I will be delighted to answer members’ questions regarding Russia’s sustainable fashion developments. Also delighted to receive advice or ideas on promoting sustainable fashion in Russia and welcome initiatives that through partnership can help move the situation forward in Russia in academia, fashion production and consumption. Personally, I am interested in contributing the Russian angle to any research activities about culture-specific attitudes to fashion and sustainability. Please feel free to reach out. 

>Thank you very much for your insights Olga!

Local Assembly Buenos Aires, Argentina

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Blogroll / Local Assemblies

How to accelerate sustainability from the integration of unheard voices?

April 7, 2021, the first UCRF Local Assembly in Buenos Aires took place with 23 participants started with to opening questions:

Why is the process towards sustainability in textiles and fashion so – so – slow?
Who are the voices we are not listening to?

Some of the reflections:

  • Fashion is a very permeable industry for people who want to do business, explore their creativity, without any specialization, only trying to find low prices of production, and earn money while enjoying designing. The industry and this way of approaching fashion supports inequality, and unsustainable fashion.
  • The industry has on the one hand the large conglomerates that need to always have positive results. However, on the other hand, it has a consumer, after pandemic 2020, who had time to question themselves, so now, the door opens again to different possibilities. It is also slow because it is immeasurable, the environmental, the economic, and the social aspects are very complex, the value chain is in different countries and transoceanic, while the triple impact of the industry is very heavy.
  • Fashion belongs to the industry, and the industry is the one that is not sustainable. And those who are not heard are precisely those who make sustainable fashion, those voices are lost. The social sphere is indicated as the most serious problem in the fashion system. Different stages: Stage of production of the raw material, and second stage, the making of the garment. Look for the local, find the balance in the crops, raw material that is not plastic, seek that plastic is no longer used. The greenwashing of the circular economy, which is not enough to address the problem in a real systemic way.
  • Education, lack of training in sustainable design issues, lack of professional training, even in the initial school levels of sustainability issues. Consumer education. Finding the point to transform the industry, business models. Educate towards sustainability at all levels. Industry permeated, the social permeates industry, industry slows down processes, it cannot stop and start over. When basic needs are barely met, can a consumer choose? Detached from native people, from the feeling that is aligned with nature and the values ​​that would lead us to act from another side.
  • Society and culture of consumption, where more is preferred for less price. There is a change, a progress, but still everything is thought from this logic. Lack of consumer education. The consumer who does not demand different ways of doing.
  • What is missing are the voices of Artisans, there is a lack of workers in the industry, an active role is missing to be able to move towards sustainable and more transparent practices. Community focus.
  • Deep lack of sustainability knowledge. As a student, there are no training spaces in sustainability. There is a lack of support for the teacher to educate himself. Teaching work very undervalued. We do not listen to those who produce from other contexts, at other times and in other ways. How we connect and how we promote our training towards other ways of doing things?
  • Need to rid off the 3R and recycling. There is an intention to educate on these issues, but it is very superficial. Recycling is not the solution.
  • Entrepreneur networks, give space to those who work in sustainability, generate construction spaces. It is necessary to listen to those who do innovation.
  • The LATAM region is a very rich region in resources and they are undervalued. We do not have figures in the sector that allow us to map these issues.
  • The artisanal is also woven into an economic perspective, the introduction of synthetic anilines in the twentieth century depleted a great wealth of knowledge and years of dyeing knowledge. Today, artisans to respond to the demand apply anilines, although spaces are beginning to emerge that seek to continue contributing from nature. The change in scale leads the artisan to seek to accelerate their processes.